s t a t i o n £ fi y
The role of the designer in the
creation of a pop-up book
San Francisco. California
There are many stages in the creation of a pop-up
book. The entire process takes approximately a year.
Having worked for Intervisual Books, the largest
producer of pop-ups. for over three and a half years as a
Design Director. I can say that process of producing a
pop-up book is a constant learning experience. No two
pop-up books are ever exactly alike, and each new format
has its own quirks and surprises. A pop-up book is an
extremely collaborative effort, with the writer, designer,
engineer, artist and production team all working together
to generate the best book possible. I will take you through
these various stages, from the point of view of the
The first step in the creation of a pop-up book, or any
book for that matter, is the subject, or story. This can be
generated in a number of ways. A client, for example
Disney, may have an existing story, like the story of
Pocahontas, or 101 Dalmations. There may only be a
topic, like colors, shapes or counting, and a concept will
need to be developed from that. Or. the designer or editor
may come up with an original idea. There may be a
character that a publisher wants to develop a book
around, like Lucy Cousin's Maisy. it is then up to the
designer and editor to come up with exactly what that
book will be about. For example. Walker Books wanted
to do something bigger and more spectacular than the
simple pull-tab books that they had produced for the
Maisy character. That was the assignment, to come up
with a new, spectacular format for Maisy, everything else
was up to the designer, editor and engineer. I met with
the editor the project and we discussed a number of
possible topics and formats. Later, I sat down at my desk
and started doing thumbnails, working through a number
of different ideas, one of which was the playset idea and
became the final book. At home with Maisy. Originally.
I had Maisy playing in three completely different places,
a playground, her bedroom, and a schoolroom. I worked
with the engineer, who developed a rough cut working
dummy from my sketches. After the client saw the
dummy, they decided that the playset should be different
rooms of Mais/s house, because they thought they might
like to do follow-up books in the same format, and the
other sites might be used in those.
Another way that a pop-up book can get its beginnings
is the creation of a new format, which can then spark
ideas that are particularly suited to it. Most often it is the
paper engineers who come up with the new formats, but
it can also happen in brainstorming sessions where the
engineers and designers hash out ideas while working on
a project, and the two collaborate to come up with
something completely unique.
After a story is decided upon, the designer must do
storyboards. which are sketches of the designer's vision
for each spread of the book. Before a designer can start
the storyboards, however, the format and specs of the
book must be decided upon. This is critical information
because it will determine not only the dimensions of the
book, but how many spreads, the complexity (how many
glue points and folds), how much paper can be used, if
the construction of the book is to be accordion, or tipped
in pages, whether it will be printed four color both sides
or only one side, the weight of the paper, whether it will
be hard cover or soft, and whether there are to be any
accessories, such as a sound chip, additional booklet,
stickers, etc. Some of these specs will be determined by
the designer, but often there can be preexisting
limitations that the designer needs to know about, such as
the target price, or that the book is for very young
children which means no small parts. This information
usually comes to the designer from the production
department. If in the process of designing the book the
designer wants to alter any of the specifications, they
must be run by the production department to make sure
that it is feasible, and will not dramatically affect the cost
of the book.
For pop-up books, a designer must also consider the
mechanics when laying out a spread. Different types of
mechanics operate best from certain areas of the book
For example V-pops usually need to be near the center.
The Movable Book Society
Movable Stationery is the quarterly publication of The
Movable Book Society. Letters and articles from
members on relevant subjects are welcome. Advertising
is accepted free of charge from members and is included
when space permits. The annual membership fee for The
Society is $15.00. For more information contact Ann
Montanaro. The Movable Book Society'. P.O. Box
1 1654, New Brunswick. New Jersey 08906.
Daytime telephone: 908-445-5896
Evening telephone: 908-247-6071
e-mail: montanar'5 jci.rutgers.edu
The deadline for the next issue is Mav 15.
Continued from page 1
or "gutter." pull-tabs should be fairly close to the object
that they activate, so as to conserve on paper. The
designer must also make sure to incorporate the text type
mto the overall design When designing a pop-up. it's
easy to get carried away with the image and mechanics.
only to realize that you have no room left for the text!
So, keepmg in mmd all the specifications for the book,
the designer sits down and sketches out each spread,
indicating where type will go. and what mechanics they
have in mind. After completing the sketches. I usually
meet with the engineer to discuss my layouts, as I want to
get input on the mechanics. I want to know if my
suggestions are mechanically possible, if they have any
other ideas for mechanics that I may not have thought of,
or that may work more effectively, or use less paper.
At this stage, the storyboards are reviewed internally,
and either approved or sent back to the designer for
revisions Sometimes after internal approval, the
storyboards are sent off to the client for approval, but
often the client would rather wait to see a rough cut
dummy, because it can be hard for them to visualize the
pop-ups from flat sketches Which takes us to the next
step, buildmg the rough cut dummy
THE ROUGH CUT DUMMY
The designer meets with the engineer, explains the
layouts and answers any questions they may have about
the storyboards. As the engineer brings the storyboards
to life, problems and new ideas can present themselves,
so there is a lot of back and forth discussion between the
designer and engineer. At this stage the designer will
begin the process of researching and contacting possible
artists to illustrate the book. This involves looking
through artists* directories, such as the Workbook, and
files of artists* promotional samples that the designer has
collected. The designer will also call artists or their reps,
for specific samples on the subject that the book is about.
This is helpful because the samples will help sell the
publisher on the art style that the designer envisions for
After lots of trial and experimentation, the engineer
turns over the rough cut dummy to the designer. At this
time the designer will design and set the text, making
sure it fits well on the page and that in all the revisions to
the layouts for engineering refinements, there is still
enough room on the page for the type to fit The dummy
agam goes through the approval processes. If the
designer has samples of the illustrator's work, it will often
be sent those along with the dummy to the publisher for
Before the book can proceed to the next step, it must be
given to the production department to make quote blanks,
which are blank books exactly like the rough cut. These
quote blanks are sent out to printers to get quotes on how
much they will charge to produce the book. All the specs
are sent along with the book, so that the printer will have
as much information as possible to quote the job
accurately. If the quotes come back too high, the designer
and engineer must go back and revise the layouts and
engineering to bring the manufacturing price down.
Sometimes the cost will still be too high, and the project
may have to be abandoned.
Once the rough cut is approved, the artist has been
chosen and fee negotiated, (which the designer must also
do), the book is given back to engineering to create
artist's sheets. Artisf s sheets are tissue overlays that show
the artist the page size, where the mechanics are on the
spread, and the amount of bleed needed, ("bleed" is an
extra amount of printed image which extends bevond the
trim edge of the sheet or page, or in the case of pop-up's.
around the pieces for the mechanics, as well.) They also
show all the pieces of art that will be needed for the
mechanics themselves, because those pieces have to be
illustrated separately from the base page art. Once they
finish, the engineer turns them over to the designer, along
with mdrviduaL engineered spreads so that the illustrator
can see what the end result will look like
Continued on page 12
Kees Moerbeek on his Work: Introduction
Regular readers of Movable Stationery know, from
the article by Peter Schuhle in the December. 1 996 issue,
that Kees Moerbeek lectured at the September. 1996
gathering of collectors in Haarlem. Since we thought his
lecture was very interesting and would appeal to all
collectors of movable and pop-up books, we asked Mr
Moerbeek for permission to translate his lecture for
publication in Movable Stationery. He kindly agreed, we
translated and though he showed a series of slides in
Haarlem, we think readers will be able to understand his
explanations by using copies of the two books he is
describing: Four courageous climbers and The museum
of unnatural history.
The Feminine in My Books
Some weeks ago. at the opening of the exhibition of
movable and pop-up books in the Frans Hals Museum in
Haarlem. I happened to have a conversation with one of
your fellow collectors. Once the ice was broken, and
growing rather familiar, this collector told me he had
stopped buying my books since "they were more of the
As you will understand, this communication shattered
me. It took me at least a week to value the message at its
true worth. I am not a collector myself and truly said I
don"t understand too much of the collector's state of
mind. I take for granted collectors are always hunting for
extremities: the oldest copy, the most intricate, the rarest
or most unusual editions.
Collectors (here of pop-up books) are always looking.
I think, at the design of the book first, measuring the
quality of the book on the basis of their own collection.
Does the book fit in with the collection? Is it valuable 9
Does it match? If not. it stays on the shelves of the
But I am a maker of books and therefore I think
completely differently. The first thing I want is to tell a
story, not to create a new design. I don't intend to be
more spectacular than things are now. nor to make paper
constructions that haven't been seen before. I intend to
tell a story within the limitations of the pop-up medium
I go by the quantity of paper allowed, a reasonable
number of glue-points and the limitation of five or six
spreads. And when something new develops, a deviating
shape or original paper construction, it is always by
chance, never calculated.
For the collector, the construction of the book will
come first. For me as a designer the contents are most
important and the construction is just an accessory
matter. And there is always the danger of the contents
getting lost in their outer manifestation in the book Pop-
up books are more easy to look at than to see. And for
that reason I want you to see what you have probably
already a looked at in some of my books. My books are
always concerned with the conflict between the
masculine and the feminine.
Some years ago. at the Bologna Book Fair, an
American publisher asked me. in relation to my book
Four courageous climbers (1991). why women never
appear in my books. That isn't true. Women always take
part in my books. They just take the shape of animals. In
Four courageous climbers women are an owl. a lynx, a
goat a yak. and a condor. All of them are representatives
of the same thing: thoughtfulness or common sense. And.
they are confronted with five men with beards, one of
them shaped as a donkey. Of course all of them are
donkeys, but for obvious reasons I couldn't tell a story of
five donkeys climbing a mountain without growing
incomprehensible. These men represent thoughtlessness,
action without consideration: the adventure. They want to
climb a mountain just to reach the top. Surely, a simple
The first woman, shaped an owl. cries and says "Don't
- if I were you. I'd stop." The second one, a lynx, warns
them about the slope being slippery but the men boast
saying they are, "not scared! We climb without a rope ."
The third, a goat, asks why they want to climb so very
high. And the men say "Because the mountain's there.
that's why!" The fourth woman, a yak. implores them to
go back before getting lost in the blizzards. But the men
don't care, saying their feet are "sticky like a lizard's!"
The fifth, a condor, says "Our warnings failed, it's now
too late for you." But the men struggle on. All of them are
hurting or half dead by now. but they stick together and
stand by their goal, to reach the top.
On every spread I increased the amount of black.
Spread five is black for its greater part, making it obvious
spread six would be completely black. That would have
said the book is finished, all men are dead and their
voyage senseless. But spread six isn't black at all. it is
very white, with a white snowman, indeed, a snow man
this time, not a woman. If the climbers had known from
Continued on page 10
The 2nd Conference of the
Movable Book Society
May 1 and 2. 1998
Los Angeles. California
If you are interested in assisting with
Local Arrangements. Program Planning.
or other details.
Please contact Ann Montanaro.
Letters to the editor
We read, with interest. Theo Gielen's article about the
Frankfurt Book Fair and the "end" of Compass
While Mr. Gielen was correct in stating that Compass
was absent from Frankfurt this year, the company is still
very much alive and creating and producing books. There
has been no "breakdown" at Compass; there has been a
Keith Moseley and Pat Paris have resigned from the
company. Any limitations Keith Moseley felt were his
own. At no time was he limited to what he could or
couldn't create or work on. On the contrary. Keith usually
worked only on the projects he wanted to. Changes to any
of his books were made at the request of the publisher
who bought his books, not by Compass, and he was
informed and involved in those changes.
The company was put up for sale after all four
shareholders agreed to do so in the fall of 1995. Keith
and Pat decided to leave on their own before any sale was
consummated. Since their departure. Dick Dudley and I
continue to manage Compass and continue to create and
produce innovative and quality pop-up books
Compass' decision not to exhibit at Frankfurt was a
rational one based on the number of American editors
who do not attend Frankfurt. Instead, we will continue to
exhibit at Bologna, where we have both the American
and foreign editors attending.
In the future. I suggest you check the accuracy of the
reports you print. Getting only one point of view can
present a very biased and false picture.
Bemie Wnghtson first began as an editorial cartoonist
for the Baltimore Sun over thirty years ago. His work has
progressed to the illustration of books, magazines,
comics and motion pictures. He is especially well known
for his rendition of Frankenstein by Mary Shelly.
Currently there are non-sports cards to that effect, and
several monster model kits produced by the "garage kit"
He is also co-creator of the comic book character
"The Swamp Thing." Other writers he has illustrated for
include Stephen King's The stand. Creepshow, and The
cycle of die Werewolf. And as many illustrators often do,
he has dabbled in the film industry with the designing of
several creatures for "Ghostbuster" and Ghostbusters II."
In an effort to show then love of pop-up books, a
company called Sideshow Inc. has created their first
pop-up. and has showcased Wnghtsons' work. The art
ofWrightson, Vol. 7" is both colorful and inexpensive.
Though the mechanics are simple, more representative of
the Derrydale editions, the subject matter is interesting
and appeal to all of us who love monsters and horrific
Halloween images. Please note that this is a portfolio
work, and does not contain a story line
Since I love monsters I easily added this book to my
collection. I first ran into this company while attending
the "Mad Model Party" in Los Angeles, which is a show
for "garage kits " These are monster, fantasy, and figure
kits made by talented artists and sculptors who generally
produce only a small number for sale. If any of our
California members decide to get this book I understand
Bernie Wrightson will be attending the show this
Memorial Day weekend in Pasadena. There's nothing
like getting that copy autographed!
My dealings with "Sideshow Inc." have been nothing
but wonderful and they have stated that if you mention
the fact that you are a society member you will receive a
discount Then number is 1-800-474-3746. It's nice to
see a new entry into this field and I think we should
encourage new publishers. After all each success story
for the small publisher means that much more shelf space
we have to clear
Arnold L. Shapno
1 W - AWFUL
2 "fc - Poor
3 "fr - OK
4- "& - Good
5 "w" - Superb
/< Alphabet Magic. By Chuck Murphy. Little
VjJjT Simon. 0-689-81286-8. $14.95 US, $19.95
■SyCail Can. 20x1 8cm. 7 spreads. 26 tab mechs. Art:
Simple, pastel colored, computer generated images.
Plot: ABC's for very young readers. Each spread con-
sists of black letters of the alphabet printed on pieces
of acetate. When a tab is pulled below each piece of
acetate, an image is revealed. The printed letter on top
now becomes part of the image that is revealed. Very
clever idea and well used. Paper Eng: Simple.
Animals at Play - A pop-up book. Design:
» Jim Dessing. Ill: Carol Schwartz. Paper Eng:
Renee Jablow. Random House. 0-679-88377-
0. S3. 99 US. S5.50 Can. 20x20cm. 7 spreads. 4 pops, 2
flaps. Art: Realistic watercolor/airbrush. Plot: Title
says it all. These are the first pop-ups I've seen that are
softcover but the money saved on binding has not gone
back into creating great pops. In fact, they're pretty
dull. For very young readers. Paper Eng: Very simple.
Also: Baby Dinosaurs, 0-679-88374-6; Busy Trucks,
0-679-88375-4; Ten Fat Hens, 0-679-88376-2.
Big Machines. By Jan Pienkowski. Paper
Eng: Renee Jablow & Helen B aimer. Dutton.
0-5*25-45854-9. $7.99 US, $11.99 Can.
19x1 9cm. 6 spreads. 6 pops. Art: Bright, flat colors
outlined with black pen. Plot: Men and their toys. Nice
bold an and some cute pops. Extra points for the diver-
sity of characters. For very young readers. Paper Eng:
Simple. Also: Boats, 0-525-45851-4; Planes,
0-525-45852-2: Trucks, 0-525-45853-0.
J"s^ The Brain Pack. Text by Ad Dudink &
Vjjv Pamela Clifford. Ill: Paul Crompton.
m^im Paper Eng: Mark Hiner, Corina Fletcher, Ron
Van der Meer. Running Press. 1-56138-746-0. $40.00
US. 28x28cm. 7 spreads, many w/side flaps. 6 pops, 11
tab/flap mechs. 1 wheel, 2 scratch-n-sniffs, 1 audio
cassette and various paper booklets, cards and brain
related games. Art: Realistic paintings. Plot: You'll
never take your brain for gTanted again. A well thought
out (no pun intended) title that is fun and engaging
(and sometimes a little annoying since I failed so mis-
erably at some of paper brain games). The first pop of
the brain is great! Paper Eng: Somewhat complex.
Crawlies Creep. By David Pelham. Dutton.
0-525-45576-0. $9.99 US. 12x15cm. 10
spreads with side flaps. 10 pops. Art: Real-
istic watercolor/airbrush. Plot: A variety of animals
strut their individual stuff. A sequel to the 1988 hit
Worms wiggle. Another fun title from one of the greats
in movable books. Paper Eng: Somewhat complex.
The Hokey Pokey and other parry rhymes
By Steve Augarde. Scholastic. 0-590-88021-
7. $6.95 US. $8.99 Can. 12x17cm. 5 spreads.
5 pops. Art: Humorous pen/watercolor. Plot: Common
rhymes (although I think many of them are British,
since only the title rhyme was familiar) for groups of
children to use as a guide during play time. Mildly
diverting and the art is fun. Paper Eng: Simple. Also:
The itsy bitsy spider and other hand rhymes.
If you're happy and you know it clap your
k hands. By David A. Carter. Scholastic. 0-
590-93828-2. $14.95 US, $18.95 Can.
18x24cm. 7 spreads. 1 pop, 6 tab mechs. Art:
Humorous collage and pastel. Plot: The well-loved
children's song demonstrated by well-dressed animals.
Colorful, cute and simple. Paper Eng: Simple.
I'm going to the dentist - A pop-up book.
3 t Design: Willabel L. Tons. Ill: Maxie
Chambliss. Paper Eng: Dennis K. Meyer and
Rafael Rangel. Ladybird. 0-7214-5714-2. $7.99 US,
$9.99 Can. 16x1 6cm. 5 spreads. 5 pops, 8 tab mechs.
Art: Humorous, greeting card-like pen/watercolor. Plot:
A lesson in oral hygiene, including descriptions of den-
tist's tools and taking care of teeth. One unique
moment is the simple tab mech that makes the kid
vomit water into that white, porcelain basin. Paper
Eng: Simple. Also: I'm going to the doctor, 0-7214-
The Night Journey. By Paul Dowling.
Doubleday. 0-385-32287-9. $14.95 US.
22x26cm. 6 spreads, 1 1 tab mechs. Art:
Humorous, colorful paintings. Plot: A family spends an
illuminating night out on the town. Tab mechs reveal
an image underneath acetate panels. Concept is inter-
esting (see Alphabet Magic, above), too bad book isn't.
Paper Eng: Simple.
Pop-O-Mania. By Barbara Valenta. Dial. 0-
1 ' ; ' 8037-1947-7. $16.99 US. 21x28cm. 6 spreads,
3 side flaps. 5 multi-piece pops, 20 tab/flap
mechs, 2 wheels, 8 flaps. Art: Bright, cut-paper col-
lage. Plot: "How to create your own pop-ups." And
then some! By far one of the best how-to books ever!
Not only does it show how to make simple pop-ups, 3-
dimensional examples are shown right next to the in-
structions. A "must have" for all pop-up lovers. When
is Pop-O-Mania 2 coming out?! Paper Eng: Simple.
In the fall of 1996 the Dutch publishers "010" from
Rotterdam (010 being the Rotterdam telephone exchange
number!) published an English language diary on books
with superimposed plates, using over sixty very well
reproduced page-large, color pictures from this category
of movable books so popular at the turn of the last
Superimposed plates were used to make complicated
things like the human and animal body, means of
transportation (arrcrafts. locomotives and cars), and
engines and appliances understandable for the general
public By lifting up the different layers the reader was
able to go deeper and deeper mto the internals of a body
or a machine. Superimposed plates are examples of an
extraordinarily clever application of the art of illustration
and of printing technology, often executed in
Although most of these books originate from
Germany and France, publishers as Vmton & co.
(Vinton 's live stock models, produced for farmers, vets
and as teaching aids). George Philip & Son (Philip 's
series of popular anatomical models). Bony & Co.,
Caxton. and others brought these books to the U.K.. and
the firm of Orange Judd Co. from New York did them
until the 1940's in the Umted States. One of them. The
fold-out atlas of the human body. Alfred Mason
Amadon's classic 1906 edition, has been reprinted
recently (1984) by Crown Publishers. New York.
All of the illustrations are from books from the
collection of Mr. Hans Oldewams who wrote an article
on these movable books, the only article on the subject
known to us. His collection will be exhibited from the
end of November until February 1997 m the exhibition
room of the Rotterdam Town Library.
The diary has been drafted in a clever wav. After using
it as a diary in 1997. you can remove those pages that
make the diary and there will remain a richly illustrated
reference work, in no way showing it was once a diary.
The introduction describes the history of what was -
for a brief period - a very popular wav of getting
information across. It is with the kind permission of Mr.
Oldewarris that we are allowed to reproduce here his
010 Diary 1997
Superimposed Plates. Introduction
Du nennst das grosste Gluck auf Erden
Gesund zu sein.
Das grosste ist - gesund zu werden.
You say the greatest joy on earth
is to be fit.
No. that's not it.
Becoming fit has so much greater worth.
With these remarkable lines the German M. Platen
opened his preface to the 23rd impression (1900) of his
phenomenal best seller Die neue heilmethode. Working
jointly with Fnedrich Eduard Bilz (1842-1922), Platen
propagated natural healing, which unlike treatment with
medicines advocates the use of generally understandable
remedies available naturally, such as air. light, rest, heat
and cold, exercise, massage, magnetism, electricity and
Many translations confirm the impression that interest
in this "new" natural healing was enormous, even outside
Germany. More than two million copies were sold in The
A great part of the mterest can be explained by the
poor hygienic conditions experienced by much of the
population in large towns. Natural healing offered
relatively simple remedies, something to improve the
situation without having to call in a doctor (steam baths,
massage, herbs, etc.). There was even a promise that his
new natural healing would completely replace existing
medical science. However, a not inconsiderable part of
the interest was aroused by the plates which accompanied
even' publication, showing the male and female body,
with a fold out plate showing individual parts like the
head, the nose, the ear. the heart, the lungs, the liver and
the kidneys. These "superimposed plates." zerlegbare
Modellen or planches superposables give an easy to
grasp explanation of the way the human body works. The
skeleton, the muscles and the blood circulation are all
covered in plate after illuminating plate, culminating with
the oigans. whose internals can be studied in minute
detail. The triumphant climax of this survey is an unborn
child in the womb of a pregnant woman
Continued on page 12
1 David Pelham's naughty
sandwich maker (1990)
4 Ron Van Der Meer's
"The _ Pack" (1994)
9 World Wide Web, for short
12 Play on Capote
13 Opening section
14 Wedding words
(great advice for Pinocchio)
16 Envelope opener
17 Dean & , "originator"
of the toy book
1 940 tactile book
24 Yorkshire county borough
27 & 35 The _ Book _,
founded in 1993 by
32 College cheer
33 Jackson (not the King of Pop)
37 Jan Pienkowski's
"Oh _ A Fly"
38 Shoemaker's tool
40 Contents of Nick
Bantock's "Griffin &
42 tnemurtsni tetrauq
44 Long story
47 Digit for a little
48 140 at Caesar's palace
51 -relief, painting-like
54 Woolly beasts of burden
56 Baseball official
57 & 58 Song choruses
59 -cutting, stage in the
production of a pop-up
60 Paper engineer Lokvig
62 Ms. Montanaro
2 Prague pop-up group
3 The Waldo Hunt
Children's Book ,
Santa Monica, CA
5 Archaic preposition
7 George Gershwin's
8 With no missing piece
(every collector's dream)
9 He gave us the
"dissolving" picture in the
10 Period in Japan, era of the
early "omocha-e" or
1 1 Heavy weight
21 Latin plural
23 Two in Tijuana
25 Hoover or beaver
26 David A. Carter's "I'm "
28 Rotatable disc in
29 Sampras serve
30 Small amount
33 Sheep sound
34 Bird on Kees Moerbeek's
1996 pop-up book
36 Units of age: abbr.
39 Mr. Meggendorfer, the
master from Munich
41 Robert award-winning
author, artist, paper engineer
(and pop-up book reviewen
43 Perfect score
45 Street urchin
46 Popular poplar
48 Site of Carvajal SA. the
pop-up book assembler
52 Coin from Laos
53 Sign outside a hit show
55 Int'l airport for the next
pop-up convention (1998)
Popping Up In the Desert
New York. New York
I had never been to Arizona before. I don't even think
I could point it out correctly on a map. Even if it was one
of those maps where the states were color-coded. When
I think of Arizona I think of western movies and
Technicolor sunsets with rumbleweeds whizzing by. It's
certainly not the kind of place I think of when I'm
thinking about pop-up books. But, hey. I've been wrong
before. And the 9th Annual Pop-up & Movable Book
Exhibit mounted by the University of Arizona's library
certainly proved me wrong.
Over the last Thanksgiving I had the pleasure (and
honor) of being Dr. James T. Sinski's guest at the
opening of his annual exhibit. Over 200 titles were on
display covering all aspects and types of contemporary
American movable books. The University even has
display cases in the lobby of the Special Collections
division and had filled them with original works-in-
progress from my last book. The 12 days of Christmas
(Although it was a kind of weird to see this since the little
cards that were below the pieces describing what they
were, made me feel like a total fraud since I don't think
about these steps nearly as much as the University did!)
Everything was meticulously displayed under glass just
like at Tiffany's, which I love. Although unlike at
Tiffany's, if you wanted to buy one of these you wouldn't
have to mortgage your home. The catalog is also great
because a) it actually has every single title appearing in
the show, b) it has photographs of several items and c) it
comes in your choice of three fabulous colors: sunburst
yellow, glorious green, and hot pink. Pick your favorite
for accessorizing. And. don't miss next year's exhibit!
The New York Times January 30. 1997.
Edison. New Jersey. Not even Cruella De Vil could have
hatched a scheme this wicked. Colombian smugglers hid
806 pounds of cocaine in a shipping container full of 101
dalmation pop-up books that was intercepted at a
warehouse in edison yesterday. United Sstates Customs
agents said. Marty Ficke. a special customs agent, said
the duffel bags full of cocame. worth $ 1 2 million on the
street, were probably buried under the 876 cartons of
books shortly before the ship that carried them left port
in Colombia, where the books were manufactured.
Agents were alerted about the drugs after the ship, the
Csav Rungue. cleared customs at Staten Island. Mr. Ficke
said. In such operations. Mr. Ficke said, smugglers
usually break mto the container after it arrives in port to
find the cocaine, but a heavy customs presence at the port
that day may have frightened these smugglers off. Neither
the Walt Disney Company nor the books' ultimate
destination, a book company in Mansfield. Mass.. are
implicated in the case.
Philippine Daily Inquirer. October 4. 1996
If you are a keen collector of odds and ends from
different parts of the world, think twice before bringing
in items through the mail.
You could be taxed exorbitantly and possibly lose the
items you have painstakingly collected during your
travels. To be sure, clear up matters first with your local
postmaster before making the shipment.
Ask PLW ad agency's Adie Pena about his unsavory
experience. Pefia is an incurable collector of pop-up
books from all over the world Every time he goes
abroad, he takes tune out to buy his favorite books.
In his latest travel to the US. for instance, he scoured
the local bookstores for the unusual books. This time, he
overdid himself and bought more than a hundred pop-
ups. including rare finds from obscure bookstores in
Instead of carrying the books while he traveled, he
mailed the items in several mail bags, posting them as
personal effects. He was used to doing that in the past.
When the shipment arrived, however, he did not expect
the Makati Post office to slap taxes on the pop-ups.
He was advised that his books were appraised as of
commercial quantity . And he was told if he did not pay
the taxes within 30 days or so. the post office would
dispose of the items accordingly.
It took a wlule and much consternation on the part of
Pefia before he finally convinced the customs officer that
he was neither a smuggler not a trader but just an avid
collector of pop-up books. He wTote the customs official
that he was book collector and attached a copy of a
newspaper article about bis odd collection. Pena got his
pop-ups without tax. "I was up in arms because the post-
office guys were very arbitrary with their definition of
taxable goods. "Iba-iba ang ruling nila." Pena told us.
Pop-up books, by the way. are not just kiddie-book
stuff. These are the familiar cutup pictures that pop out of
the pages of nursery rhymes, the likes of "Mary had a
little lamb" or "Little Miss Muffet sat on a ruffet" But.
unknown to many, collecting pop-ups is a grown-up
man's hobby. And the books can be as sophisticated as
the modern versions with sounds and lights
sold out within two weeks: the catalog within less than
six weeks. It is such a collector's item by now that people
offer three times the price for which it was sold onlv half
a year ago. Unfortunately, no money has been found for
a reprint, so there will be just a small publication for the
Amersfoort exhibit with, at least, a list of the books on
Intei-visual Books Inc. SEC Quarterly Report.
November 13. 1996.
On November 1. 1996. the Company announced the
resignation of Charles E. Gates, the Company's President
and Chief Executive officer, effective November 15,
1996. Mr Gates has agreed to provide consulting
services to the Company for a period of approximately
five (5) years. Mr. Hunt the Company's Chairman of the
Board, will temporarily assume the responsibilities of
President and Chief Executive Officer until a successor
for Mr. Gates is appointed.
Biblio: The Magazine for Collectors of Books,
Manuscripts, and Ephemera Volume 2. Number 1.
January. 1997. Pages 48-53.
John Michael Dawson's article "The Collectible
Children's Curiosities of Vojtech Kubasta" is a
comprehensive account of Kubasia's life work and
contribution. The cover features a full color illustration of
the pop-up from How Columbus Discovered America.
Other color and black and white illustrations appear
throughout the article.
The items exhibited m Haarlem will now all show on
other pages, and books from other collections will
replace those loans to Haarlem which are no longer
available this year. The whole exhibition in Amersfoort
will also have a completely different look from the
Haarlem one for these reasons.
Exhibition The Movable Book in Museum Flehite.
Westersingel 50. 381 1 BL Amersfoort. The Netherlands.
Telephone 033-4619987. From June 28 until September
21. 1997. The Museum is open Tuesday through Friday
10:00 - 17:00. Saturday and Sunday 12:00 until 17:00'
Book and Paper Happenings
Chicago Center for Book & Paper Arts.
A full program of lectures, classes and workshops is
offered for the Center's Spring schedule. Classes include
papermaking. bookbinding, artists' books, clamshell
boxes, book repair, and book structures. For more
information caU 3 12-43 1-8612.
Exhibits of Pop-up and Movable Books
The town of Traunstem (situated between Munich and
Salzburg) will show an exhibition on Lothar
Meggendorfer during Jury and August 1 997 . As with the
Haarlem Exhibition, it is planned to have a meeting of
collectors. The exact date has not yet been set.
Haarlem Exhibit Repeated
After the huge success of the Haarlem exhibition last
year the same books will be on display this year in the
museum Flehite in Amersfoort near Amsterdam.
The Haarlem exhibit had just over 18.000 visitors
within the nine weeks it lasted. The poster with a built-in
do-it-yourself of one of the pop-ups from the catalog -
Newport Paper Arts Festival IV.
April 4-6. 1997
The Newport Oregon Paper Arts Festival will feature
eleven instructors and twelve workshops on hand
papermaking. book arts, and related paper creations. For
more information contact Denise DeMane at 541-265-
25th Michigan Antiquarian Book and Paper Show
April 6. 1997
The Mid-Michigan Antiquarian Book Dealers
Association will hold their annual Book and Paper Show
on Sunday, April 6 at the New Lansing Center. 333 E.
Michigan. Lansing. Michigan. For more information
contact Ray Walsh at 517-332-01 12
May 31 -June 2. 1997
BookExpo America, formerly the American
Booksellers Association Convention & Trade Exhibit.
will be held at Chicago's McCormick Place Complex. It
is the "single largest bookselling event in North
America." There is a significant entrance fee.
Information is available at:
http://aba.reedexpo.com/name.html or 800-840-5614.
Questions and Answers
Q. We recently happened to see a copy of a beautiful
carousel book from the fourties: Snow-White and the
seven dwarfs. A fairy tale by the Brothers Grimm in
six pictures designed by Will Gauchel Wiga Book
Theater. Liidenscheid/Germany. Carl v.d. Linnepe. n.d
The figures within the different layers have been
shaped into detail and the whole is reminiscent of the
big carousel books designed by Zampini in the early
fourties. The series also had a very special way of
displaying one scene after another by a built-in
framework. There appears to have been published at
least two titles published as Wiga Book Theater, a
Robinson Crusoe and a Nativity (?). Who knows or has
in his collection copies of these titles and could provide
more bibliographic details, or better photocopies of the
front cover and title page? Does anyone know more
titles in the series?
Q. I am in the process of working on a second volume
of Pop-up and movable books: A bibliography. A
number of books have come to my attention from
dealers' catalogs, online databases, and correspondence
but I am unable to describe many of the books from the
information available to me. This is the first of a
number of requests for additional information If you
have any of these books, please send me a complete
citation with author, title, paper engineer, production
company and place of production, place of publication,
publisher, and date of publication. Also include a
description of the movable illustrations.
1 . ABC Pop up Mabel Lucie Attwell. illustrator. 1 96 9
2 ABC pop up. Higham. London. 1978
3 . Animated nursery tales. Julian Wehr. 1943
[The illustrations are Thumbelina. The elves and the
shoemaker. The wonderful porridge pot. and The
gingerbread boy. What is the cover illustration?]
4 Brian & the space men. Dougal's magic lamp
Both in The Magic Roundabout series. Purnell. 1985.
Are they pop-ups?
5. Hopalong Cassidy and the Mesquite Gang
Purnell. 1 95-? Description needed
6 Moschops and the sneezes Purnell. 1983
Is this a pop-up 9
7 Mary Mungo & Midge. Dean. 1970
A note associates the name John Ryan with this book.
Who is he?
8 The original floating zoo. Concordia Publishing,
1975 9 Described as an Action Book, is it
9. Pickles don 'tgrmv on trees Random House 1 97-?
10 Pop-up book of crazy golf Intervisual Books,
This is identified as "A Ted Smart book "' From the
catalog record it appears to be the same book as Golf-
o-rama. Is it? If so. why was it published under both
1 1 Runaway pictures. Ernest Nister A uovel push &
pull book " Please describe the plates.
East Brunswick. New Jersey
A. A question was posed in Volume 4 number 2
asking if the books Castles. Caverns. Cowboys.
Dinosaurs. Indians, Mountains. Prehistoric man. and
I 'olcanoes announced in the 1 994 Universal Sales and
Marketing catalog were published. The answer until
now was that they were not published. But. that doesn't
mean the books were never published! The whole
series has been published in Italy at Ed. Panini in
Modena for about $12.00 each.
Moerbeek. continued from page 3
the beginning that a snowman lives at the top of the
mountain, then expedition would have made sense. But
they didn't know and they never thought it an argument
The snowman is very happy with then visit since no
one ever comes to keep him company The climbers are
half dead already, so this would be a good place to die.
One could say they should have entered heaven at once,
without seeking it. frozen up forever m the ice. This
being an unexpected religious turn, though looking
senseless, life finally had made sense.
But I didn't intend a religious book and surely I didn't
intend a happy ending And that is why the men are
tumbling down the bluff at breakneck speed. And though
the snowman is crying "Oh no! Don't say you're leaving
so soon and suddenly! Why don't you stop and rest
awhile and spend some rime with me?" - the men are
tumbling into a completely senseless death, without any
The next book I wanted you to see is The museum of
unnatural history (1993). Again the conflict between the
masculine and the feminine has been worked out. I just
didn't want, as in the earlier book, men opposed women
right away. I aimed at a book without people. This book
had to deal with an inner conflict: the struggle between
the masculine and the feminine in everyone, in one's
mmd. And I have chosen a slightly weird museum visited
by nobody but you. suggesting the human mind.
The first feminine reminder is on the cover: "Closed for
repairs." In other words, you'd better go home for in this
place nothing can be seen. A very wise observation that
we had better take to heart. But the masculine in
ourselves seeks for adventure and thinks in a practical
way: since we are here, we'd better have a look. So we
open the book and see . . . the Hall of the Museum.
We find ourselves standing at the foot of a staircase
and have to go upstairs to attain our end. We are entering
the museum as a man and are welcomed by an enormous
spider in her web. For me she is the Black Widow, the
spider that invites the male in her web to seize him. next,
after mating, devours him. A second important element
of this spread is the window of the cashier. It appears to
be the symbol of senselessness. Someone has died and
decayed from faithfulness. He didn't rise when he felt ill
but died behind his window even though the museum
could be visited for free. Truly an example of senseless
The third element, probably the most important one.
is a detail at the left top of this spread: the stylized
portrait of Sigmund Freud. He raises his skull as a
welcome. But ... we don't see any brains. I didn't want
to say he didn't have any. I aimed at their invisibility
since we are completely enwrapped by his brains.
Something like standing on the Eiffel Tower and seeing
only iron beams and rivets. The object itself has lost
characteristic features, it enwraps us and is too big for
An invisible guide welcomes us saying, " Yes, we're
closed for repairs, but we'll open just for you." Indeed,
we're entering the human mind. Spread two shows the
prehistoric reptile and fish collection. A unfortunate
workman landed in the aquarium and was attacked by a
fish with teeth which was then attacked by a bigger fish.
himself attacked by a still bigger one that is gripped bv
the tentacles of an octopus that waylays - to close the
circle - the workman. We are treated as a man on this
spread, a man's show in the aquarium and frogs jumping
away with his vision (glasses) and talents (tools).
Spread three is in the tropical greenhouse of the
museum. Through the door we see a man running away
from a carnivorous plant. All plants here are feminine
and want to consume the man. The plant in the middle is
a seated woman, high-heeled and breasted. She shows a
specially big mouth with teeth and she speaks with many
tongues. What she is after can be seen silhouetted in the
background. Here is how the masculine in us is defeated!
Spread four I call the spread of revenge. It shows the
coffee shop and we finally see the first man m the whole
book at his full length. He is completely boned and
dismantled. His last guest was a woman, as can be seen
from the relics on the table in front: a handbag and
lipstick. The coffee stayed untouched. The man is
offering us a small dish of wiggling worms and a bottle
of raw poison. His revenge.
In the kitchen we see a lady's shoe in the frying pan.
and she picked the fish that threatened us on spread two.
An enormous squirming snake enters the coffee shop
from the kitchen. Here is how the feminine in us is
Spread five allows us to look in the museum's gift
shop. On the shelves we see two jars with brains in
spirits, and boxes filled with glasses. The revenge of
spread four continues, we see a woman about to be
munched by a mammoth. A pterodactyl takes the
building plans in his flight - the past runs away with the
future. So there is no longer a past nor a future, there
rests just today. And this present proves to be the night as
you can see the stars in the sky. We stayed too long in the
museum. We should have left earlier. But we cannot
leave anymore. Never again.
The sign "Exit" guides us to the shaky cellar stairs. We
don't have to go upstairs now. as on spread one. but
downstairs. When we want to get our coat and want to
save us, we will have to conquer the monster. But this
monster is invincible, too big and too strong. All who
tried came to a miserable end. Our guide, commenting
the whole visit in the museum, appears to be this
monster Big and powerless the monster himself is locked
in the dark cellar. The only diversion the monster has in
his captivity is to challenge the sick visitors (man and
woman in search of safety) and finally to knock them off
We'd better never visit this museum: we wouldn't
want to end that miserable wav
Siegler, continued from page 2
The designer then writes up further instructions on the
artist's sheets, indicating where the type will go. any
further bleed instructions, and specific art direction or
requirements the publisher may have All of these
materials are copied, packed up. and sent off to the
There are two stages to this part of the process, artist's
pencils, and finished art work. At both stages, once the
art is complete, the illustrator will send all the material
back to the designer, so that a dummy can be made using
the new art. Many refinements and adjustments are done
Each step must be approved by the publisher. Sometimes
the publisher may want changes to the artwork The
designer must communicate these requests to the
illustrator and send the materials back for revisions. It
can be a diplomatic challenge at times, meeting the
publisher's needs while satisfying the illustrator's creative
Once the color zerox dummy has been approved,
production mechanicals are done. At this stage, the
designer will make any last minute text changes by the
publisher, and order repro. ("repro" is camera reach - type
used in the paste up of the mechanicals) or turn over the
electronic type files to production, depending on how the
job is going to be produced. Before the mechanicals are
released to the printer, the designer, engineer, editor and
production, review and sign off on the mechanicals. This
is the last chance to catch any errors or make any minor
adjustments. Then the completed mechanicals are
When the color proofs are received from the printer,
they are given to the engineer to build a proof dummy.
The proof dummy is routed around to the various
departments for approval and comments, starting with the
designer. The dummy is then sent off to the publisher.
The publisher will usually have some minor comments,
or last minute text revisions. Sometimes they may make
major changes. They may be unhappy with how a
particular piece of art reproduces. The designer will meet
with production to determine whether the problem can be
solved by adjustmg the printing. If not. the designer may
have to go back to the illustrator for further revisions to
the art work.
Keep in mind that at all of these stages, deadlines are
critical. Major revisions, especially at proof stage, can
blow : an entire schedule. There are usually two proof
stages. On occasion, the first proofs will be perfect and
no revisions are needed. More often than not. there will
be revisions. Die adjustments, color corrections, last
minute type changes. Color corrections may need to be
made because the printer may not always match the color
of the artwork satisfactorily. For example, the overall
look of the proofs may look washed out. or they may be
"too red" The production department, along with the
designer, will mark up the proofs with instructions on
what needs to be adjusted, along with any comments
from the publisher. The materials are then sent back to
the printer for second proofs.
After what seems like an eternity, the eagerly awaited
finished pop-up book finally arrives. An extraordinary
collaboration between many people. It is a satisfying
feeling to hold, what had been a year ago. just an idea. It
is almost alwavs worth the effort, and the wait!
Superimposed plates, continued from page 6
Superimposed plates experienced an enormous revival
from the end of the nineteenth century through to the
twenties. But their history began as far back as the
The field of medical science was not neglected by that
passion for research so characteristic of the Renaissance.
Leonardo de Vinci was the first to draw the human
skeleton in a truly scholarly way. though his research into
the human body was limited by a prohibition on the
dissection of dead bodies. Things were easier in this
respect for the anatomist Vesahus. because Padua, where
he worked as a professor, paid little if any attention to
papal decrees. Even so. he had to get hold of his bodies
himself, going out at ungodly hours and most often
finding them on the gallows outside the citv gate.
Vesahus (1515-1564) was the first professor to
perform dissections himself, and his lectures attracted
hundreds of interested onlookers. For us the most
interesting result of his efforts is the publication of the
Tabulae sex. These six anatomical plates, printed in
Venice in 1538. are the first examples of superimposed
plates. The male figure has five superimposed wood-cuts,
the female four, each showing the internal organs under
the fold-up flap depicting the stomach. These so-called
Adam and Eve plates caused a major sensation
throughout Europe, and were rapidly followed by no less
than five new editions, in Augsburg. Strasbourg.
Cologne. Frankfurt and Paris. In a foreword to Human i
corporis fabrica (factory of the human body) which
appeared in 1543 and was the first modern book on
human anatomy. Vesalius showed his indignation at the
countless imitations of his first publication, often of poor
quality and. of course, produced without permission.
Within a few years the number of layers increased
rapidly, until around 1600 when the anatomist Remmelin
achieved the all-time high of twelve or thirteen plates on
a single figure.
Superimposed plates were mainly associated with the
human body. However, at the end of the nineteenth
century there was an enormous need to acquire an
understanding of the many inventions made in that
century, for vehicles, machines and appliances. The
submarine, the vacuum pump, the telephone, the electric
motor, the locomotive, the hot air balloon, the petrol
engine, a telescope or a coal mine, it is hardly possible to
think of anything for which there was not superimposed
plate. The whole thing became a complete craze. While
originally plates were only made when the subject was so
complex that the need was obvious, now the plates were
made first and only afterwards was a text written for
them. "Conciseness is undoubtedly a primary
requirement for reading matter intended for the layman.
I therefore found the publisher's request to provide the
text to accompany the attached movable plates a proper
reason for me to attempt to give a description which will
satisfy' this requirement." wrote Alette Jacobs in the
foreword to the booklet De vrouw (the woman),
published by Kluwer in 1899. Another category which
readily lent itself to superimposed plates was bodies of
animals: the dog, the cow, the pig, the frog, the
diplodocus and the honey bee. And just as in the time of
Vesalius, now too the plates were aimed at people who
were wanting to educate themselves, autodidacts.
As far as I know, apart from the literature on
Vesalius' Adam and Eve plates, superimposed plates
have never been a subject for serious study, except in the
Dutch periodical Utopia (no.5, 1977). The fact that its
character is not totally serious and that it smacks too
much of popular science is certainly to blame for this.
Apart from that it is a difficult field of research to define.
A splendid example of a publication including
superimposed plates is the Grande encyclopedie
pratique de mecanique et d'electricite. from the Paris
publisher Aristide Quillet. It is a publication in five parts,
dating from 1913. the first four parts of which form a
handsomely illustrated encyclopedia which closes with a
veritable apotheosis of the technique in the form of an
atlas containing twenty thick cardboard pages on which
are stuck the same number of superimposed plates, all
dealing with machinery and appliances. Many of these
plates can also be found in books brought out by
publishers in other countries, and further investigation
reveals that Aristide Quillet was a great supplier of such
plates to fellow publishers throughout Europe. Aristide
Quillet set up his publishing house in 1 89 1 , when he was
eighteen years old. He specialized in encyclopedias,
following in the footsteps of the firm of Le Breton who a
century and a half earlier had undertaken an interesting
publishing exercise with the encyclopaedists Diderot and
d'Alembert. The autodidactic aspect of his publications
was further emphasized in the titles: Mon professeut,
Encyclopedie autodidactique . etc.
The records of Aristide Quillet's publishing house
were lost during the Second World War. so the way the
plates were produced and distributed remains a mystery.
Some parts of the mystery were unraveled with the aid of
the archives of the Dutch publishing house Kluwer.
Aebele Kluwer started his publishing business in 1 889
with an industrial advertising sheet, distributed by
himself free of charge, in which a large number of
articles appeared in the fields of metal- working, electrical
engineering, automotive engineering and the construction
industry. Spurred on by its success, Aebele built up a
new list of books containing "coloured fold-out models
for self-study" such as "The dynamo" and "The electric
motor" (1901); these were followed by many others.
Kluwer' s archives have a collection of 33
surjerimposed plates, from four different countries, which
seem to have been a sort of sample collection for Kluwer
to choose from. Most of these plates came from
Germany. One of them, a "Papiermodell eines
Dieselmotors" (paper model of a diesel engine) seems to
be precisely the same plate as the "Moteur Diesel" from
Quillet's atlas and the "Petroleummotor van Diesel" from
Khrwer's own publication. From a short note attached by
a paper clip, it appears that the diesel engine was drawn
from a real diesel engine from the Maschinenfabrik
Augsburg-Nurnberg Aktion Gesellschaft Abteilung D. At
the bottom of the note was the model number: "Muster
SMITHSONIAN INSTITUTION LIBRARIES
Only one of the hundreds of superimposed plates that
I have looked at gives the name of the printer. The plate
in question is entitled "Lithographic Model of a
Stationary Gas Engine. "published by the Popular
Mechanics Book Department of Chicago. Illinois, and on
it. in small letters, appear the words. "Printed in
Bavaria." That the craze also raged in Germany was
confirmed by the preface to one of Kluwer's own
publications, dating from 1899. in which the author
noted: "In Germany works containing a 'Zerlegbares
ModelT of a machine enjoy a favourable reputation . . .
I was therefore happy to accept an invitation from the
publisher to edit the works in this series for the
In Blucher moderne techniek. that probably served as
a model for Quillet's Encyclopedie de technique et de
mecanique. it appears that all its plates, many of which
are also included in Quillet's encyclopedia, were drawn
from machines in German factories in places like
Gummersbach. Berlin, Hanover and Kiel. It may be
deduced from this that Germany was an important
original source of superimposed plates. As to who the
designers were, for the present we can only guess. With
one exception The atlas in Henri Desarces' Nouvelle
encyclopedie pratique de mecanique et d' electricite
stated that the plates were lithographic copies of originals
by Alexandre Pierson. Apart from the Frenchified first
name, the whole thing really does sound very English.
Superimposed plates 010 Diary 1997. By Hans
Oldewams. Rotterdam. 010 Publishers. 1996. ISBN: 90-
6450-285-4 128 pages. Spiral bound. 21 x 16 cm.
Dfl29.50 (ca. $17.50 plus postage). Can be ordered
from: Bookshop Bijleveld. Mrs Marina van Hoek
Janskerkhof 7. 3512 BK Utrecht/ The Netherlands
Telephone: 030-2310800. Fax: 030-2311774. Payment
bv credit card
3 9088 01629 2781
[includes two small bears.] The Vermont Teddy Bear
Company. 14x19 'A Carousel with 4 scenes. $49.00.
Cany kit: Make your own pop-up greeting cards.
Smithmark Publishers. $14.98. 0-7651-9254-3.
Cats. By Mary Engelbreit. Andrews and McMeel.
March. 1997 . $6.95. 0-8362-2675-5.
Also: Fishing. 0-8362-2676-3.
Charlie the chicken. Harcourt Brace & Co. April.
1997. 7 V 2 x 7 l A 20 pages. $12.95. 0-15-201451-9.
Disnev 's Hercules pop-up book. Disney Press. June.
1997.' 10 x 10. 12 pages. $13.95. 0-7868-3128-6.
Flopsy Bunnies with sliding pictures. Beatrix Potter
Little Hide and Seek Books. Warne. March. 1997.
3x3.12 pages. $3.99. 0-7232-4357-3.
Also: Two badmice. 0-7232-4358-1.
In my home. Touch-and-Slide Puzzlers. Dial Books for
Young Readers. March, 1997. 6 V2 x 6 'A. 6 pages.
Also: On the move. 0-8037-2141-2.
Monstergrams: Twelve spooky pop-up greeting cards
to make yourself. Dial Books for Young Readers.
Patch bakes a cake. Harcourt Brace & Co. April.
1997. 5 14 x 5 'A. 12 pages. $5.95. 0-15-201382-2.
Also: Patch goes to the park. 0-15-201379-2.
Patch grows flowers. 0-15-201381-4.
Patch takes a vacation. 0-15-201380-6.
The following titles have been identified from pre-
publication publicity, publisher's catalogs, or adver-
tising. All titles include pop-ups unless otherwise
identified. Titles reviewed in Robert Sabuda's
"Movable Re%iews" column are not included in this
Several of the books included in "Movable Reviews"
will be available in the coming months:
Animals at play - May 1
Big machines - July 1
Pop-o-mania - May 1
Badbttv: A pop-up book. Chronicle Books. April.
1997. $8.95. 0-81 18-657-5.
Beau & BeeBee: Two tiny bears make a big move.